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EN
This article is an attempt to refute the accusation of hostility towards intellect and rationalism to Burke, which is also mentioned by MacIntyre. It is questionable that Burke was falsifying English history for his own benefits. It was ideological conviction connected with French Revolution judged as seditious and 'metaphysical', not conformism, that made him strive for split in his own party. Also in this context he warned of retreating to some founding state, of raising society from the beginning, of starting reforms with act of establishment's breakage. He was convinced that old-time social life, such as human cities and political communities, can't be forced in new political and legal constructions without a great waste and damage of prolonged evolution of human institutions and companionship. Burke's well known belief that to govern we need through knowledge of state's nature and spirit, which is complex and delicate, does not confirm his anti-intellectual attitude. Burke's view of power was probably a public service, in the interest of the nation. MacIntyre, who defends the values of tradition, owes more to Burke than he wants to admit. Nevertheless Burke in his attack on theoretical abstractions goes too far. There is a kind of reflexivity elimination form the practice. Practice without autocratic debates (as MacIntyre exposed) as well as axiological references, which are enabled by theory (as Leo Strauss exposed) would lead to lethal stagnation, but it was not really realized by Burke.
EN
Although research to date has helped in important ways to shed light on the penetration of Burke's 'Enquiry into the German-language area', a comprehensive treatment of this reception as a process distinguished not only by changes over time, but also characterized by regional variations, remains lacking. Based on the lectures on aesthetics by August Gottlieb Meissner (1753-1807) at Prague University in the late eighteenth and early nineteenth centuries, the paper seeks to illuminate this underexposed regional aspect. The first phase of the reception of the Enquiry took place especially in Berlin immediately after its publication in London in 1757. The second phase can be located mainly in the northern maritime centres of German culture, particularly Koenigsberg, Riga, Hamburg as well as Copenhagen. Christian Garve's translation, published anonymously by Hartknoch in Riga in 1773, and Kant's 'Critique of Judgement' (1790) constitute two peaks of north-German interest in Burke's Enquiry. The intense reception of the 'Critique of Judgement' within German aesthetics around and after 1800 subsequently led to the polemic with the British author becoming a part of Idealist interpretations for the next few decades. Outlining the three centres (and the three corresponding phases) of the German reception of Burke's Enquiry begs the question which of them should be connected with Meissner's remarks concerning Burke's ideas. Leipzig is presented as another important German-language centre disseminating knowledge of Burke's Enquiry, especially in the first half of the Seventies, moreover the decisive intermediary for the penetration of the Enquiry into the south-German Roman Catholic areas, Prague in particular.
EN
This article discusses the early phase of the Hungarian reception of the aesthetic views of Edmund Burke. It does so by considering two reference works on aesthetics, one by György Alajos Szerdahely (1740–1808), the other by Johann Ludwig Schedius (1768–1847). Both authors were, in their day and later, well known amongst the scholars of Europe. Their reference works became university textbooks, and should therefore not now be neglected. The specialist literature has, however, to this day one-sidedly interpreted their conceptions as eclectic mixtures of German, English, and French works on aesthetics. In this article, the author seeks to surmount the poor methodology and unsatisfactory conclusions concerning the reception of foreign authorities in Hungarian aesthetics. She does so by using the example of Burke, reconstructing the context of the places that he is mentioned, presenting them as period topoi, and analysing the narrative strategies of the two Hungarian authors. These approaches allow her more profoundly to explore the relationship between Burke’s Enquiry and the two reference works. In the foreground of the comparison are the key terms ‘beauty’ and ‘the sublime’, the use of narration and metaphor, and also reflections on art, society, and sociability.
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